Titlebook: Canadian Science Fiction, Fantasy, and Horror; Bridging the Solitud Amy J. Ransom,Dominick Grace Book 2019 The Editor(s) (if applicable) an

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Lymphoma and the Nervous System,ime. . (2010) explores forced assimilation and resistance through sf. Both films are concerned with transforming popular images and familiar tropes from Gothic, fantasy, horror, and science fiction, which widens the scope of storytelling and subverts the idea of a homogeneous Indigenous culture.

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https://doi.org/10.1007/978-1-59745-219-9e tropes of sf generally, and the legacy of feminist sf in particular, to raise the question of what it means to be human and why, historically, the attribution of humanity has been so unevenly allocated, thus addressing a central question of global sf today.

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Book 2019 to the Canadian experience. This volume examines Canadian and Québécois literature of the fantastic across its genres—such as science fiction, fantasy, horror, indigenous futurism, and others—and considers how its interrogation of colonialism, nationalism, race, and gender works to bridge multiple

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The Art of Not Dying: , by Emily St. John Mandel and , by Catherine Mavrikakishe glory of endangered communities threatened by engulfment in “global culture.” Similarly, in . (2014), Mandel presents a troupe of itinerant actors who roam the Great Lakes region to perform Shakespeare and music, thus acting to preserve a culture threatened with loss.

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When Are We Ever at Home? Exile and Nostalgia in the Work of Guy Gavriel Kaythat is always being imagined even as it is always being lost. He does so in novels that reimagine world history in alternate versions of ancient and medieval Europe and Asia, estranging the familiar, rendering it .: both home and not home at once.